Ari Aster’s ‘Eddington’ Review: A Star-Studded Satire That Falls Flat
Ari Aster, once hailed as one of modern cinema’s boldest horror voices, stumbles with his latest project Eddington, a long, overly symbolic satire that tries to take on too much and says too little. While visually polished thanks to Darius Khondji’s stunning cinematography, the film drags viewers through a slow, humorless journey that feels more like a failed think-piece than a compelling drama.
Set in the fictional town of Eddington, New Mexico, the film opens just as the Covid-19 lockdown begins. Instead of exploring this setup with nuance or fresh insight, Aster fills the script with predictable political arguments, exaggerated caricatures, and heavy-handed metaphors that rarely land. Despite a star-studded cast featuring Emma Stone, Pedro Pascal, and Joaquin Phoenix, the film oddly manages to drain energy from all of them, making their performances feel flat and uninspired.
What Went Wrong with ‘Eddington’?
At the core of Eddington is a conflict between Sheriff Joe Cross (Phoenix) and Mayor Ted Garcia (Pascal). The sheriff refuses to wear a mask, while the mayor pushes strict lockdown measures. Their clash, meant to reflect deeper tensions in American society, feels like a weak echo of Spielberg’s Jaws, but without the tension or urgency. Aster tries to craft a political showdown, but the film fails to build momentum, instead dragging out what could have been a sharp story into a tiring two-hour-plus runtime.
Emma Stone plays Louise, the emotionally fragile wife of Sheriff Cross, whose depression and disconnection mirror the wider chaos of the town. Her mother Dawn, played by Deirdre O’Connell, is a conspiracy theorist obsessed with social media and cult figures. Together, they latch onto a self-proclaimed prophet named Vernon Jefferson Peak (Austin Butler), who pushes “recovered memory” therapy and cult-like devotion.
The film tries to tackle major issues like Black Lives Matter, white guilt, gun culture, and liberal hypocrisy, but each theme is introduced without depth or conclusion. Characters like Garcia’s guilt-ridden son Eric (Matt Gomez Hidaka) and his activist girlfriend Sarah (Amélie Hoeferle) are reduced to loud stereotypes. Even attempts at dark humor or political satire fall flat, as the dialogue lacks punch and the tone stays monotonous.
What Critics Are Saying and Watch the Trailer
Despite the film’s flaws, one scene does manage to squeeze out a laugh: Mayor Garcia’s overly dramatic campaign ad that paints him as a heroic single dad. It’s the only moment that feels sharp and self-aware. There’s also some biting commentary in scenes involving the sheriff’s racist deputies, but again, the jokes are undercut by the film’s uneven pacing and lack of buildup.
Even the film’s big finale, a chaotic shootout meant to symbolize America’s cultural civil war, arrives with no emotional weight. It’s loud but empty, lacking the intensity or revelation viewers might expect from a climax. Without meaningful stakes or character growth, the ending feels more like a shrug than a bang.
What’s most troubling is how Eddington manages to sideline the talents of its cast. Joaquin Phoenix, usually magnetic, seems bored. Pedro Pascal delivers a competent performance, but without much to work with. Emma Stone’s role offers little range or progression, and her subplot never finds a strong purpose in the larger narrative.
How Fans and Audiences Are Reacting to Ari Aster’s Latest
For fans of Ari Aster’s earlier work like Hereditary or Midsommar, Eddington may come as a major letdown. Gone are the chilling atmospheres and psychological depth. In their place is a messy political allegory that mistakes noise for meaning. The film feels more like a collection of internet arguments stitched together with beautiful visuals and slow pacing.
Audiences and critics alike have expressed concern about Aster’s creative direction, wondering whether the filmmaker’s signature touch is being lost in his attempts to tackle big social commentary. While ambition is never a bad thing, Eddington shows that without strong storytelling and focus, even the most pressing themes can come across as hollow.
The film recently premiered at the Cannes Film Festival and has left viewers puzzled rather than impressed. With no clear message, no standout performances, and no emotional core, Eddington joins a growing list of recent films that try to mirror society but end up reflecting very little.
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